Create Your Own Digital Chibi Characters | Allicia Moncher | Skillshare

Create Your Own Digital Chibi Characters

Allicia Moncher, Crystal Sky Art

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11 Lessons (48m)
    • 1. Introduction

      4:43
    • 2. Starting a New Illustration File

      2:25
    • 3. Tools and Settings

      5:36
    • 4. Drawing the Base Chibi Form

      4:09
    • 5. Drawing the Detailed Chibi Sketch

      3:53
    • 6. Inking in the Chibi

      5:32
    • 7. Filling in the Base Colour

      7:03
    • 8. Creating Clipping Masks on Layers

      0:56
    • 9. Adding Shadows to the Chibi

      4:45
    • 10. Adding Highlights and Finishing Touches to the Chibi

      4:14
    • 11. Conclusion and Class Project

      4:40

About This Class

Students will create a digitally illustrated chibi figure in Clip Studio Paint. This will cover start to finish of the chibi figure, including exporting the final image as a .jpeg and/or .png file.

 Ideally students will have basic knowledge of how to use the program, or if they do not have Clip Studio Paint, a basic skill set in Photoshop that will allow them to obtain the same results. I will be using version 1.7.4, the newest version, which allows access to features not available in older versions. Photoshop has similar versions of these tools.

In this class students will learn to (course outline):

  • Course overview.
  • Open a new illustration document, and saving the .clip file.
  • Overview of the tools to be used.
  • Sketch the chibi form.
  • Add details to the chibi sketch.
  • Create the ink outline for the chibi.
  • Add base colour to the chibi using multiple layers.
  • Create layer clipping masks for shading and highlighting.
  • Shading the character.
  • Adding highlights to the character.
  • Saving and exporting the final illustration file.
  • Conclusion and final project.

Please note that this is my first ever class here on SkillShare and I am currently waiting for my new mic to arrive, hopefully it will provide a better sound quality than my gaming headset mic. I tried to get the best sound that I could, however this did not always work and there are still portions where it is less than ideal. 

Transcripts

1. Introduction: Hello, everyone. And welcome to my very first class here on skill share, this class is gonna be about creating your very own digitally illustrated TV character. My name is Alicia and I only artist behind Crystal Sky Art. I'm a Canadian artist who enjoys working with both physical and digital mediums. I create fan art and original characters using a mixture of different style. The cheapie that I'll be creating for this course will be brand new, never before seen original cheapie character, and I hope that you like her. So what can you expect from this course? In this course, I'll be covering some of the basic techniques for creating characters for maybe a sketch to a detailed sketch. The Leinart based color shading and highlighting I will be using clips, studio paint, the X, however, feel free to follow along, using any digital our program of your choice or even used physical mediums to apply some of the techniques from this course. During this course, I will also be going over which tools I use and how I used them to make things nice and easy for you. As I have numerous brushes which I have purchased or a pain for free from all the lovely artists who post their brushes. I will attempt to put together a brush package for you all to download, just in case. I am using a couple of brushes which do not come in the base program while you work on your project, Feel free to ask me any questions as often as you need to and even post your work, no matter what stage it is is, it's fun to receive the work in progress images just as much as it is to see the final product. I'll also be giving you some suggestions on where to find brushes, color palettes and references, which you can use many of these resources air, even free. All right, so here's the outlook for the course. I will begin with how to open a new illustration document in saving Thekla. File this document. I'll show you what settings are usually used and how you can change. Um, also be going over the tools that I use and then moving into Thea Art itself, where there will be the sketch of the chippy form for bass sketch moving into the detailed sketch and then finally to the line ERT. After we finished, the liner will be moving into adding the base color using multiple layers, each of which we will have to remember to name individually to make things easier for us later on on, then create layer. Clipping masks for the shading and highlighting stages from here will shape the character, and then we'll add highlights and then finally, will save and export. The final illustrations file on and after. This will go over any concluding remarks and the final project for the course. There's many places in which you confined various resources from color palettes, two brushes to references and inspirational images, some of my favorites and most often used or Pinterest Google searches and deviant art. Quite often, a Google search will even lead you to Pinterest or Davey and heart. Just be careful for the rabbit hole that is deviant art. When you enter there, you may only go searching for a single brush and find yourself coming out of there with hundreds of free brushes to install into the program, which you may never even know when you'll actually use, Um, there just one looking brushes. Other sources will include clip studio paint store itself, which you access from the program menu. They have a ton of free brushes, textures, anything that you can. Hopefully I want to use within the program itself to create your art. Ellen, Twitter, Tumblr and Patriot All Earl some really good sources of artwork for inspiration or even reference images. There are quite a few artists who create based forms of TV's, which you can use their bases as an idea for how to create the post that you're looking for . So I hope that you enjoy this course and feel free to ask me any question. Thank you. 2. Starting a New Illustration File: Hello and welcome to the first lesson here for this one. We're just gonna cover some of the very basic elements with opening clip studio and starting up a new file. So first we'll open it this way rather than Thea Icahn. I have down here on the task bar as this one will open up the old version. However, if you actually enter the program through this, have access to the new version by clicking up here, Where says Pink? Okay, so now that clip studio paint is open in the newest version, As you'll note, I'm using E X, but you can do this in any version at all. So to start off with will go under file new. Or you can just click the new button right up here and it'll open up this menu that you see right now. So I always make sure to select the illustration tab. This is my base. However, when I'm on my laptop, I have to reduce the resolution to 400 from 600 just to allow it to work better. Otherwise it will leg. You can have the custom preset, or you could switch to any of thes while you're here, you can also select how you want it measured. I always go in pixels, which is what you see here. So it's 6071 wit and 4299 height. I'll actually just hit the swap button right there so that it's taller and rather than wider. Once you have everything set up here, you can change your name. So now this is my GP file. Add Just hit. Okay, This will open up your brand new illustration document right here on the screen. Once this is open and when you actually want to save the file, you could either just hit save once threw something on it there, or you could go here a save as and as you'll see it now has the name down here that says, gv dot clip. If you were to leave it as illustration, you would actually have to change the name if you wanted to say something different. So it's just easier to changed at the beginning. Hit Save on your good to Go 3. Tools and Settings: in this video, I'll be going over the tools that all use for this project. So if the start, we'll just do some quick little trees with one of the tree brushes that I have just to demonstrate how some of these tools work. So when you select the last so tool, you can hit the scale upscale down, which is the arrows in the circle, and then you can move it around, and it'll only select what you had in the circle it OK when you're done. This is really good when you have something out of proportion on your cheapie that or any of your art that you want to modify just that. There's also the free transform and the mesh transform tools on this quick access bar on the side. Please note that the quick access bar was only made available in version 1.71 and above. So with the free transform, this tool allows you to modify certain elements in different ways, other than just scaling it up and down and rotating it. So if you'll watch here, you could see this goes in and they've now moved in different directions. They're going from larger up top smaller, and the bottom is the go inwards. If you don't like it, just cancel. Otherwise, once it's set where you want, just hit, okay and you're good to go. So the next tool is three eyedropper. It allows you just to pick a color on the palate rather than having to go and select here. So for sketching, I have a lot of different pencils here. I'll stay up in these two here, the darker on the lighter. So let's just pick a color here on. And this is the lighter pencil, which is always the 1st 1 I used in the darker pencil is the 2nd 1 I use. If you move over to this tab here, you'll see these items right here. Andi, I'll turn off. The tilt for this is that you have your pen pressure. You can adjust the amount here. If you watch over here, you can see that's your higher amount of pen pressure. If you go down to a lower, that's the difference that it makes so you'll see that you actually have the increasing and decreasing size versus a large size. I tend to keep my pen pressure a little bit lower, usually under 10. So that way I have a nice change in the variation of Lined With in the Anqing Face. I like to use the outline or pen for the eyes, which I do believe was an extra pen. So I will try to put together a set so that you have access to this one, along with the basic ones that I use. This pen allows for you to do this like I do with the eyes. It's the same way to set up its the pencils you just hit here. I do have tilting velocity on this one as I found that it works best if I do that and you get all sorts of different line. What the four effect line pen is one that I really enjoy using on some of my illustrations . I don't use it on all of whom, as it can be difficult to use at times. You'll see here that you'll draw in a line, and then it will alter the line with so it's wider in the middle and smaller, earthy ends. If you're just trying to do small line like this, you'll see here. Ah, isn't consistent. Sometimes you don't even get a line. Sometimes you just get a circle. If you swap to a smaller line size, you'll see here, some of them are so small and somewhere not sometimes have to add a curve just to make it show up. When I move into the coloring, I like to use the dense watercolor brush, which I also have gone into the settings here on, and I got my pen pressure for this one. Keep the pen pressure up a little bit higher because you just want a nice flat color walks . You don't want the variation in line with. So you have this. You'll color everything in like that. Just nice flat color, except for the slight highlight difference in there. Once you got the base color laid down, go back here. Swap to the smooth water color once again with the brush size, the pen pressure is down to very little automatically, so I just turn it up a tiny bit. But not very much. I always have the amount of paint and the density of paint really low for this, just because it makes it easier to do the shading and highlighting and you don't have a very definite streak of color that goes through it allows you to add the layers of the color to get the desired color. So these are the tools that I'll be using for this Chibi demonstration. Other than, of course, the eraser tool, which you can find different types of erasers. Each person has their own preference. For me, the rough you racers, my favorite one to you when you have an entire layer like this that you don't plan on actually using for your design is this is all test. You can shut it off if you want to keep it there. Or you can just select the layer and hit the trash can on the bottom to delete it. I'm just going to do a quick save now, so it doesn't say of everything that was there previously, and we'll move on to beginning the sketch phase 4. Drawing the Base Chibi Form: welcome to the base sketch portion of this course. I am currently selecting the light pencil where I will begin with the basic form of the G B . So starting with the head, the neck. And then I moved into two triangles, working together to form the torso on a a set of almost two Blake shapes for one for the upper arm, one for the lower arm. The hand is done with a triangle roughly for the palm and then the fingers drawn from there . And now it's time to move on to the leg. The legs when I sketch the louder actually fairly similar towards the final product will be . I don't include feet on my cheese. So, as you see, I just draw the lines down where they taper down at the bottom. From this point, you look and see if there's any adjustments that need to be made. As you can see, the body and my header out of proportion for achieving the body was actually too big. So using the lasso tool in selecting only the body and then the scale up scaled down, I scaled the body down to roughly where I would like it to be. Once this was complete, I scaled the entire body to fill up most of the page before moving on to the remainder of the sketch. It is actually easier to do this now rather than later, because as you move through the illustration, you're going to have more and more layers built up. So if you can make the changes before there are the layers, it'll make life significantly easier in the And now, continuing on with the sketch, I have dropped out the eyes, both of which were slightly out of position. So I used the last tool to adjust their positioning in size, and I will mirror the image back and forth. That button that I was selecting allows you to flip which way the images facing giving you a better idea of what the image will look like. It's a good thing to do when you want to see if something is definitely off limits. I take very basic sketch that I had and filling it in a little bit more in terms of the figure, so you'll notice that the triangles are no longer the dominant part of the tour. So and then I'm starting to add in the hair. This plate. It's just going to be a very rough. Do you tell for this? I don't include much details in the sketch yet because I will be doing a second sketch over top of this with a lot more details in it. What I am doing the sketches. You'll notice that I do tend to use colored pencils rather than blacker gray. This is just a personal preference mind. I always draw in a red or blue, even a pink. Sometimes when I do my physical illustration, so it's just natural that this continues on into my digital illustrations and I'll see you in the next lesson. 5. Drawing the Detailed Chibi Sketch: welcome to the video of creating the detailed sketch of the cheapies. I have to apologize, as it would appear that a portion of the last video went missing. To begin this lesson, we will create a new layer, this new layer. We will call Dark Sketch, and we will lower the opacity on the light sketch layer so that you could barely see it well. Now switch to darker pencil and have a smaller pencil size someone with a darker color for the drawing. For this, simply just go over each of the elements in the previous sketch and add more details to. Also, we will be working on making sure the shapes are correct. So that way it is easier to do speaking process that next as you'll notice, I have even begun to stick in the lines on the outer edges of the eyes, along with focusing more on achieving the correct shape for each of the other ones. You don't always have to be as precise as I am here in trying to obtain the correct lines, as you still will have the thinking stage that comes after this too fully perfect. These it just makes it easier on you when you try to do the inking. If you have better lines to follow from the skin thing that you may notice here is that I'm not using the eraser tool to race line quite often. I will actually just have the history You're open, and I didn't go back a couple steps on it to where I want to redraw the portion. The history viewer is initially with the layers tab, however, because I want to view the layers all the time. I just simply select history and drag it over to where I would like to see it on the workspace and adjust the size of it in there. Remember that when you were drawing, if you're ever having trouble attaining a specific line or on board, flip the image or rotate the image. A lot of these tools can be found underneath the fewer where you see the image on the side of your workspace. By rotating the image or flipping it, you get a better view off the area, and it even makes it easier to draw it from a different angle sometime. You can easily slip it back afterwards when you go to work on the next part coming up In the next lesson, we will begin thinking in the strong. 6. Inking in the Chibi: Leinart face is started just like the A detailed sketch fees. Except this time we will turn off the layer by hitting the I button on the side of the light sketch layer and new layer that will call liner. I turned the capacity down of the detailed sketch layers by select here and adjusting the slider on the top that says capacity down to a lower number. This will make it easier to tell where lines are, and we don't have to worry about competing with the actual sketch below it when starting with the Leinart. I always like to do the eyes first as I use a different brush for those that I will for the rest of the blind. If you look, I like to use the outline of a pen or the eyes and before fact line for the rest of the body and the detail work the outline er pen gives to use or control over the line we're drawing. Sure it's, you'll see. I'll start with the lines for the heart and the upper part, uh, outside of the eye, Putin. And then I'll do the same for the other arm. If the two eyes were actually being drawn out the exact same. There was no real difference at home. I would use the lasso tool on copy and paste flip the first I that was drawn so that I don't have to worry about them looking. Now that I've created the outside of the ice, I swap over to the four effect line, which is under pen. Rather than thinking as you'll notice with that pen, it likes to variation. Why, with by tapering off both of the ends, it can be a difficult Pento. Work was that time, so because it can cause some odd wines or going may not action. So what properly? If you preferred, however, you could continue on with the out liner pen. You would just have you adjust the pen with yourself and make sure the pen pressure was adjusted to how you liked it, so that you had the light that's burying. You want to create the very wine? What's to create trist within the piece? It is actually rather boring to look at when it is the exact same audibly through, which is why you always see that some parts are darker in some parts or later on illustrations or into pieces. As with the sketch layers, I continue to use the history viewer to add or remove lines that I drew. This allows for the principle of complete lines, and you don't have to worry about accidentally erasing something that you want. You can even use this when you have you something, if you want to bring that part back rather than just hitting controls, said Peter. Until you hit the point that you like. That's one really nice thing about clip studio First Auto Shop in photo shop. When you hit, Control said, you will have the line that you just made disappear. But if you hit it a second time, that line will reappear. So it just alternates between the two last actions that were you with clips studio. When you hit control set, it will continue to go back all the way as faras very few. We won't go back throughout the result going back and forth between the last two actions. It will just continue to remove actions that were completed until you get toe either the end of the line of what saved or you get to the point in which you wanted to go back to. Now that we have completed all of the line work for this chief, it is time to move on to filling in the base color. 7. Filling in the Base Colour: But for any illustration, it works best if you start by placing a color on its own individual layer, rather than putting all colors on the same layer to do list, just create a new layer underneath the liners but above the dark sketch for the first color and code about area in. I've been repeat this for each additional color after I always start with the skin and then move on to the hair next, when you were coloring in the base color, you want to use a brush that can create a fairly solid, dark flat wash of color. For this, I like to use the dense watercolor brush as it does create that effect, as was mentioned in the tools Lessen. The dense water color brush can be found under the tab with the brush symbol and then underwater color. It is one of the first couple brushes in there, and you want to make sure that you set the pen pressure at a high value to ensure that you get a solid line. As I had forgotten to fill in the pupil's, when I created the Leinart for this image, I just went back to fill it in with the paint brush tool on the line layer. While doing this, I noticed that I had left a gap in the eye that caused it to fill in more than what was planned. So I just theory swapped back to a tool that I could use to fill in the gaps that I had left in the lines before returning to the paint bucket tool to fill in the last pupil. One of really nice things about filling in the base color this way is that you don't have to worry about staying within the lines If you're going into a spot which will be filled in in a future layer. You want to be careful when filling in any of the upper layers or any part that is along the background just to minimize the amount that you will have to erase along the lines. After filling in the initial color, make sure that you keep a close eye on where you are applying the color as in which layer you have it on, so that you don't have to. You race more than what you need to. You will notice that every once in a while I did forget to do this, and it created some really interesting marks on the line ERT when I tried to come in at that spot in layer. So just to make things easier for you, make certain that you are on the correct layer for the color that you're using. Using this method to color in the illustrations allows you create clipping masks, which I'll talk about in the next lesson that are used shading and highlighting to prevent the colors from string onto the other areas. If you have multiple areas with a similar color that you would like to put on the same layer, you can do so, such as I have there and the eyes together here. They don't overlap at all, so you do not need to worry about their colors for the shading bleeding into the other areas. Use an excessively large brush to do so. If at any point journalist process, you noticed that the color isn't being a evenly Don't be afraid. Do you go over it a few times just so you get that solid base. Otherwise, you will notice the lighter spots more when you're doing the shading than you do currently . Also, if you accidentally forget to erase some of the straight lines on the liner or any of the color that has gone outside the lines in such a way that it is either towards the background or over another color, you can fix this at any point by just selecting whichever erased or you like best and erasing those lines. I prefer to use the rough eraser for this as it gets rid of that. Definitely. If you you weren't used the Softy Racer, you would notice that it kind of fades out the color in the spot rather than just getting rid of it all together. If you notice that you go over and you don't feel like swapping over to the eraser tool, you can just go over to the history and go back to the point where you last the color lead in properly and it was not string somewhere else. While it can be nice to group certain colors together during the process, if you have two areas that come close to overlapping with a very similar color to make sure that you create separate layers for them just to make it easier for the shading and highlighting part. Continue on with this process now, until the entire GP has had the base color laid down for it. 8. Creating Clipping Masks on Layers: for this portion of the course, I'm going to go over how I start with the highlighting and shading. The first step in that is always to create a new layer above the colored layer that you're looking at and then right click on the portrait article air, not the writing and select clip at layer below. By doing the layer clipping, it allows you to shade or color without worry of going outside of the lines. Just a really quick example. I am going to show you over here on the skin there, as that is what I have a layer clipping on. And as you see, it doesn't matter what I do. It's staying on Lee on those parts that were colored. It also allows you to see if there's a little area that is missing color, that you need to go over again before you start with this 9. Adding Shadows to the Chibi: I like to use the smooth watercolor brush for adding different shadows and even highlights in the next lesson to my illustrations. By using the smooth watercolor brush, you can easily blend or create ingredients of color. Depending on the amount of pressure that you apply and the colors that you use to add in the shadows. I will create a new layer above the original layer that I will be adding the shadows to right, clicking on the portrait of thought layer and clicking to apply layer clipping mask When you are selecting the color for the shadows, it is easiest if you use the eyedropper tool to select the current color of the base layer and then switch over to the color wheel unless you know exactly where you want the color. On the current palette, choose a color that is at minimum, a few shades darker or even significantly darker, depending on the effect that you're looking for in your illustration. At this point switched to the smooth watercolor brush and make sure that the density and amount of paint are turned down low. Increase the brush size and begin to add in the shadows where they would form for this piece. I was going with a light source that was to the right and in front of the character, slightly so the shadows before, mostly on the left side and around certain areas, such as behind hair. On the right side, there are a couple of different methods that you can use when adding in the shadows at the start with one color that a slightly darker and work from there slowly adding layers, putting more picture to get the color to show up better when you're using the pen. Pressure for the color with the smooth watercolor brush. Asthma in the tools video I do keep depend pressure turned down low, so it's not a solid lying this one, like it was with the dense watercolor brush. The other method that works really well is to start with a really dark color around the edge and select an intermediate color between the two. Any blended in so that you have on almost seamless Grady int going from the lighter to the darker. Or you can continue with the one color down blended in and then add in a darker color over top, blending that into the intermediate color. Continue adjusting the colors when adding shadows until you achieved the desired look. Once you have achieved the desired amount of shading on the current layer, it is time to move on to the next layer. To do this, just follow the same procedure as before by selecting your next layer, creating a new layer above it and applying a clipping mask to the new layer. From this point on, all you have to do is simply repeat this process for each layer to get the shadows on all of the layers, even within the iris of the eyes, until everything is complete. Once you have added shadows to all of the layers, we will begin to add the highlight, which we will do in the next lesson. If at any point in time you feel that you have added in too many shadows, or put the shadows in the wrong spot, simply use the eraser tool on the softy racer. Andi work from the inside to the edge of the shadow to erase a part of it, or you can do the same by using the eyedropper tool to select base color and then, with the smooth watercolor brush, blend the color back from the lighter base color towards the darkest shadows. 10. Adding Highlights and Finishing Touches to the Chibi: now that you have added in all of your shadows, it is time to begin adding in the highlights. This process is very similar to thought of adding shadows. For this, you will select the layers you had added the shadows to. I use the eye dropper to pick a color close to the base color and then on the color wheel. Go to a color much closer to white, using the's smooth watercolor brush again. You will apply the lighter color onto the area you're looking toe. Highlight on to add even further highlights. You can go right up to white, decrease the size of your brush and then, using a little bit of extra pressure, add in that color. You can then increase the size of the brush again and blend all of the colors together, as you can see right now, I am currently using this time to also add some blush to the cheeks of this G B, using a color used for blush in the Copa markers themselves. When you were adding in the highlights, it is best to keep in mind the direction of the light source that you're using as mentioned in the Shadows video. I'm using a light source that is slightly to the front and right of the character, as this is where my life says. I want to make sure that the highlights are added in such a way that they will appear more on the right side of the character unless there is a spot that would disrupt the light source such as the hair, and then it would be moved a little bit closer to the center. And while I am saying that the light sources to the right of the character, I am referring to my right or the right of the illustration that you see, if it was the character themselves, the light would be on their left. The addition of shadows and highlights is a very important one in any illustration, as it adds depth to the illustration itself, creating more of a three D effect rather than a flat two D character with no dimension. You will now continue with this process until you have added in all the highlights. As with the shadows, if the highlights or out of place, or if you feel you have added too much, you can simply erase them using these softy razor brush removed them using the History Selector bar. Or you can simply use the eyedropper tool to select the base color and then using thesis oft watercolor brush blended in. Once this is complete, feel free to add in any finishing touches that you feel your TV character needs to become a fully realized and rendered character. 11. Conclusion and Class Project: Now that the image is finally completed, it is time to save the illustration as image files that you can use later on from the File two Single Layer Export and J. Peg. And then you just save it in your folder here and a menu will come up. This menu that came up allows you to adjust a lot of the different settings for the image itself. So if you want to reduce the quality, you change this up here, the percentage of it if you want to reduce the size, which for my watermarked images, I reduce this to down to 40%. As you can see, it's just changed the pixels. The quality and the resolution have remained the same as I don't have the watermark on this yet. I'm just going to leave it, as is at the 100% man. You'll see when you type that in, it goes right back to the original settings. Just hit OK, and that one's done. Now my primary image sources the PNG. This is what I send out to all my patrons on patriots. So again go export single layer from file and then this time to PNG it'll open up the same menu. The only difference here from the J Peg one is you care too. Just equality. But you can still scale it like you could with the J Peck on hit. Okay, this will take a little bit of time for it to export it. It's not like adobes quick export. So can be about 20 to 30 seconds. Some days if you wish to save it as a PSD file like I do for my patrons on patriot, I give them the option of viewing both the clip and the photo shop document as photo shop is more common. You also go here to export single air and then on the very bottom is the PSD. So Photoshopped document Click on that. Just hit. Save your given the same options here as you were with the PNG for the most part. So you can still adjust the size if you want to and then hit. Okay, this is it for saving your document. You're all done now, now that we have completed the illustration and saved it, I encourage you to create your own original chippy character or even a self portrait to be for practice. With this as the class project, please let me know. If you ever have any questions, I'll be more than happy to answer them and feel free to share your illustrations at whatever stage there in any time you wish to share, feel free to in your product under the projects area. And remember, just have fun with these. They're meant to be cute. Little illustrations They're not meant to be exactly proportional is you'll notice the head is larger. There isn't any feet detail on quite often the hands or even less detailed than what I have these ones here. If you ever need any references for the poses and you want the chippy specific pose, there's tons of them available online. Just remember, don't copy any of the ones that you see only use thumb toe. Look at to get an idea of how to do the post. You don't want to be tracing them, especially if you plan on selling any of the chippies in the future. For this course, I went with a much simpler chippy than I normally draw just for the time constraints. I wanted to be able to keep the video shorter for you rather than having longer videos of extended periods of time where you're just watching a speed paint of me trying to get all the details worked out in this. I hope you enjoyed this course. I look forward to your feedback and seeing your class projects done. Thank you very much for watching and see you in a future class by